Music > Live Reviews

The Amazons - Demob Happy - Mysterines

The Nick Rayns LCR, UEA

21/11/19

Well, it was guitar bands all the way last night at the Nick Rayns LCR, and a relief to see so many younger music fans out attending a live rock gig on a Wednesday night – perhaps rock and roll does have a few more tricks left up its sleeve after all.
 
First up were The Mysterines, a trio from the Wirral consisting of Lia Medcalf on lead vocals and guitar, George Favager on bass, and Chrissy Moore on drums. They materialise on stage really soon after doors have opened, so the floor of the LCR has by no means filled, but they strike up with a ballsy assuredness that always bodes well for an opening act. They are yet to release an album, although 2019 has been a busy year for them with a total of three EP's, a headlining tour and a support tour with Miles Kane. Their sound is a mix of grunge, rich bass riffs and searing vocals that remind of Courtney Love, or even Cherie Currie from The Runaways. 'Bet Your Pretty Face' is a slice of pure rock and roll attitude. Let's hope someone brings them back to Norwich before too long.
 
Demob Happy were last here just a few weeks ago for Wild Paths Festival, when they played The Waterfront along with Black Honey and Big Spring. They have been together now for over ten years, are originally from Newcastle but are now based in Brighton, and feature Matt Marcantonio on lead vocals and bass, Adam Godfrey on guitar, and Thomas Armstrong on drums. They arrange themselves at the front of the stage, sharing The Mysterines' drumkit and formation, but with Marcantonio's vocals coming from stage right instead of left. Their confidence and cohesion is reinforced by a mixture of strong melody and gnarly guitars that conjure up memories of '70s chart acts like JoJoGunne and Geordie, but with an arsenal of unapologetically sweaty rock numbers culled from two albums, 2015's 'Dream Soda' and last year's 'Holy Doom'.

 
As the stage is re-arranged, and the crowd join in with classic sing-a-longs like Fleetwood Mac's 'The Chain' and White Stripes' 'Seven Nation Army', the stage covers are drawn back to reveal The Amazons' twin battery of amps, Joe Emmett's drum-kit with the slogan Floss Is Boss emblazoned on the bass skin – a reference to Peep Show, perhaps? And, dominating the stage, is a large neon outline borrowing from the cover from this year's 'Future Dust'. The album was written close to Three Cliffs Bay near Swansea, and those familiar with the Gower will recognise the shape from the cave that connects Three Cliffs with the adjacent Pobbles Bay. Others might comment that it  looks a bit like the top half of a giant vagina.
 
It may be a Wednesday, but this is the penultimate night of the tour and vocalist Matt Thomson is taking no prisoners, and offering no concessions to those who have to go to work in the morning. It is a blistering set that starts off with 'Fuzzy Tree' and the single, 'Mother', both from the new album. Their guitar-heavy sound may remind you of bands like Royal Blood, but Thomson's stage presence and embroidered suit maybe borrows more from Brandon Flowers of The Killers. Guitarist Chris Alderton and bass player Elliott Briggs are bolstered by the addition of an extra guitarist lurking behind the amp stack, as are two female backing singers. The result is a blistering but richly balanced sound that hits you with a wide range of textures whilst simultaneously giving the ear-drums a comprehensive bashing.
 
Between the end of 'Stay With Me' and the start of '25' there is a dedication to Greta Thundberg (now, it seems, an obligatory feature from any band out to bolster their environmental credentials), and 'Georgia' is dedicated to all young people, but to women in particular. Check.
 
A keyboard is wheeled out to the centre stage for Thomson to perform the ballad, 'Palace', whilst mobile phones are held aloft (and the occasional lighter) giving the rest of the band a quick break before returning to crank things up again with 'In My Mind'. There's a version of 'Doubt It' that morphs into the old Blind Willie Johnson gospel number 'In My Time Of Dying', and a scorching finale where 'Little Something', from the debut album, is segued with elements of  The Beatles' 'Helter Skelter', Marc Bolan's '20thCentury Boy', Sabbath's 'Iron Man' and RATM's 'Bulls On Parade', and there is still time for a good old fashioned drum solo.

 
'Junk Food Forever' and 'Black Magic' are kept back for the encore, ensuring that there is a final chance for the entire LCR to jump, bounce and po-go their way towards the conclusion of the evening's entertainment.
 
Guitar music is by no means dead. It has just been resting.